The Fujifilm Fujinon XF 14mm F2.8 R ($899.99 list) is a wide-angle prime lens for use with Fujifilm mirrorless cameras. It covers an APS-C image circle, which gives it a 21mm field of view in full-frame terms. That's a very wide angle, one that requires a trained eye to use effectively, and shooters who are lucky enough to be able to see in such a wide angle will be happy to know that it's impressively sharp from edge to edge, even at f/2.8. It covers a slightly wider angle than the Fujinon XC 16-50mm F3.5-5.6 OIS zoom, but it doesn't feature built-in stabilization like the zoom.

For still shooters, stabilization isn't a major concern for a 21mm-equivalent lens. But if you're a frequent videographer you may prefer a stabilized lens, even one this wide. That would likely add to the size (and cost) of the lens. It's by no means a pancake, but its 2.6 by 2.3-inch (HD) size is quite small, especially compared with an SLR lens like the Pentax SMC DA 14mm F2.8 ED IF (2.7 by 3.3 inches, 14.8 ounces, 77mm filter thread). The Fujinon lens weighs just 8.3 ounces and accommodates smaller (and less expensive) 58mm filters. A hood is included, and the lens sports a minimum focus distance of 7.1 inches, which will let you get quite close to subjects for a unique look. You don't think of a wide-angle lens as one that can blur the background of an image, but when working close the 14mm will do just that. But, not surprisingly, I found that at more reasonable working distances the background of shots could get a little busy; that's something that you'll want to take into account when approaching your subject matter.

There's a manual aperture ring at the base of the lens with third-stop clicks from f/2.8 to f/22 and an automatic setting. There's a bit of tension required to move it from Auto to a manual f-stop, but it turns much more freely through the manual aperture range. I often discovered that I had inadvertently turned the ring to a different setting when out shooting in the field; a bit more tension between aperture clicks would help to prevent this. I did like the focus clutch system. If you want to use autofocus you'll just need to make sure it's pushed forward; to switch to manual focus just pull it back toward the base. That will reveal distance markings, which can be used for zone focus in conjunction with the printed depth of field scale.

I used Imatest to check the sharpness and distortion characteristics exhibited by the Fujinon XF 14mm when paired with the 16-megapixel X-A1. The lens is very sharp at f/2.8, recording 2,399 lines per picture height using a center-weighted test. That's better than the 1,800 lines we use to mark a sharp photo. Wide angle lenses tend to have issues at the edges, but they are sharp here—2,030 lines. It improves marginally as the aperture is narrowed, peaking at 2,430 lines at f/8 with edges that hit 2,250 lines. This is a lens you can shoot wide open without worry. Barrel distortion is minimal; it shows 0.8 percent, which isn't noticeable in field conditions. If you're working with an architectural subject that requires precise rendering, a minor adjustment in Lightroom will take care of the very modest curve exhibited by the lens.

Wide-angle shooters should take a close look at the Fujifilm Fujinon XF 14mm F2.8 R. This lens is quite good, but it is priced accordingly. The 21mm-equivalent prime lens is one that isn't available in competing mirrorless systems—Sony, Samsung, and Micro Four Thirds shooters all have access to 24mm-equivalent optics, but the difference in field of view between a 24mm lens and a 21mm lens is more dramatic than you'd think. It's not without issue; it was just a bit too easy to accidentally knock the aperture ring, moving it to an unwanted setting. X-mount shooters can take a little extra care when out and about to avoid this in order to take full advantage of this excellent wide-angle lens.

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Senior digital camera analyst for the PCMag consumer electronics reviews team, Jim Fisher is a graduate of the Rensselaer Polytechnic Institute, where he concentrated on documentary video production. Jim's interest in photography really took off when he borrowed his father's Hasselblad 500C and light meter in 2007. He honed his writing skills at retailer B&H Photo, where he wrote thousands upon thousands of product descriptions, blog posts, and reviews. Since then he's shot with hundreds of camera models, ranging from pocket point-and-shoots to medium format...
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